Elmore Leonard quotes:

There are cities that get by on their good looks, offer climate and scenery, views of mountains or oceans, rockbound or with palm trees. And there are cities like Detroit that have to work for a living.

I think the best advice I give is to try not to write. Try not to overwrite, try not to make it sound too good. Just use your own voice. Use your own style of putting it down.

Sometimes female characters start out as the wife or girlfriend, but then I realize, 'No, she's the book,' and she becomes a main character. I surrender the book to her.

I don't believe in writer's block or waiting for inspiration. If you're a writer, you sit down and write.

I can write anywhere. But I don't use a computer, and I could never write on a laptop. I hate the sound of computers; it's too dull, like it's not doing anything for you.

I decided to write Westerns because there was a terrific market for Westerns in the '50s. There were a lot of pulp magazines, like 'Dime Western' and '10 Story Western' that were still being published. The better ones paid two cents a word. And I thought, 'I like Westerns.'

To me, a book is a book, an electronic device is not, and love of books was the reason I started writing.

Never open a book with weather. There are exceptions. If you happen to be Barry Lopez, who has more ways to describe ice and snow than an Eskimo, you can do all the weather reporting you want.

Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.

I would say just start writing. You've got to write every day. Copy someone that you like if you think that perhaps could become your sound, too. I did that with Hemingway, and I thought I was writing just like Hemingway. Then all of a sudden it occurred to me - he didn't have a sense of humor. I don't know anything he's written that's funny.

I do this a lot with names. I'll start with a name, and then for some reason he won't talk much, or he's older than I pictured him just because of a name I give him. So then I finally get the right name, and I can't shut the guy up. This always happens. There's always a character who gives me trouble that way.

Using adverbs is a mortal sin.

I try to leave out the parts readers skip.

I used to be able to write five pages a day, every day, no problem. Now a good day is five or four pages, and that's from 9:30 A.M. until 6 P.M.

Avoid Prologues. They can be annoying, especially a prologue following an introduction that comes after a foreword.

Everyone has his own sound. I'm not going to presume how to tell anybody how to write.

When you are developing your style, you avoid weaknesses. I am not good at describing things, so I stay away from it. And if anyone is going to describe anything at all, it's going to be from the point of view of the character, because then I can use his voice, and his attitude will be revealed in the way he describes what he sees.

I never know what I'm going to write next. If I'm still writing the book but I'm very near the end, and I begin to think of what I'd like to do next, then I'll know that what I'm writing is in hand. I'll think of an ending and it will be fine.

Writing screenplays is not my business. I've written half a dozen, and maybe half of those were made. But it was never a satisfying experience. It was just work. You're an employee. You would be told what to do. Studio execs would cross out my dialogue and put in their dialogue.

If it sounds like writing, I rewrite it. Or, if proper usage gets in the way, it may have to go. I can't allow what we learned in English composition to disrupt the sound and rhythm of the narrative.

The truth is that the writers who most influenced me weren't people categorized as crime writers. I'd say I learned more from John O'Hara, who isn't much read today but whose short stories I really admired, and Hemingway, who I think has lasted pretty good.

I have fun writing. I don't make it a chore. I don't have to struggle with it.

The bad guys are the fun guys. The only people I have trouble with are the so-called normal types. Their language isn't very colorful, and they don't talk with any certain sound.

If you take a few days to write an outline, you're just making up scenes that you think will work, that you think will be interesting. But as you write it, other ideas occur - better ideas that have to do with what you're writing.

I spent most of my dough on booze, broads and boats and the rest I wasted.

After 58 years you'd think writing would get easier. It doesn't. If you're lucky, you become harder to please. That's all right, it's still a pleasure.

If I have several bad guys and I only want to end up with one of them, then I have to decide which one I want in the end. And normally it's the one who is the most interesting talker.

I think any writer is a fool if he doesn't do it for money. There needs to be some kind of incentive in addition to the project. It all goes together. It's fun to sit there and think of characters and get them into action, then be paid for it. I can't believe it when writers tell me 'I don't want to show my work to anybody'.

Writing on the beach is not what it's cracked up to be. The sand blows, and you perspire, and the page gets all blotty and messed up, so I don't do that anymore.

My most important piece of advice to all you would-be writers: When you write, try to leave out all the parts readers skip.

When I get an idea for a book, something appeals to me, it's usually a character. I'll see a picture of a female marshal in front of the courthouse in Miami and she's got a shotgun on her hip and it goes up on an angle. And she's good-looking. And I say, 'I've got to use her.'

I once saw Dizzy Gillespie at a live show, and it made me want to go home immediately and start writing.

I don't have any of the modern electronics at all. I know the Internet would be a distraction. I would see things that interested me and never get back to writing.

I'm not aware of a cadence when writing, but I hear it after. I write in longhand, and that helps. You're closer to it, and you have to cross things out. You put a line through it, but it's still there. You might need it. When you erase a line on a computer, it's gone forever.

When people ask me about my dialogue, I say, 'Don't you hear people talking?' That's all I do. I hear a certain type of individual, I decide this is what he should be, whatever it is, and then I hear him. Well, I don't hear anybody that I can't make talk.

A friend of mine who is in the publishing business knew I was writing a book, and he said, 'Have you said anything yet about the good guy? Because I know you spend so much time with the bad guys.' Because they're fun. So then you have to make the good guy fun, in order to compete. That's the challenge.

I never see my bad guys as simply bad. They want pretty much the same thing that you and I want: they want to be happy.

My purpose is to entertain and please myself. I feel that if I am entertained, then there will be enough other readers who will be entertained, too.

I still read Hemingway. I still read his short stories because they're so good. He doesn't waste any words.

My characters have to talk, or they're out. They audition in early scenes. If they can't talk, they're given less to do, or thrown out.

What do you tell a man with two black eyes? Nothing, he's already been told twice.

The line of dialogue belongs to the character; the verb is the writer sticking his nose in.

Never use a verb other than "said" to carry dialogue... I once noticed Mary McCarthy ending a line of dialogue with "she asseverated" and had to stop reading and go to the dictionary.

If it sounds like writing, I rewrite it.

At the time I begin writing a novel, the last thing I want to do is follow a plot outline. To know too much at the start takes the pleasure out of discovering what the book is about.

I do have fun writing, and a long time ago, I told myself, 'You got to have fun at this, or it'll drive you nuts.'

It doesn't have to make sense, it just has to sound like it does.

There are some people who have been reading me for years, and they keep saying kind things about the writing. That's what you're writing for, to get people to respond to it.

All the information you need can be given in dialogue.

A man can be in two different places and he will be two different men. Maybe if you think of more places he will be more men, but two is enough for now.

Not dreams but night changes, not destiny but path changes, always keep your hopes alive, luck may or may not change, but time definitely chages.

I don't want the reader to be aware of me as the writer.

I don't think writers compete, I think they're all doing separate things in their own style.

Try not to write the parts that people skip.

My most important rule is one that sums up the 10: If it sounds like writing, I rewrite it.

I always felt, you don't have a good time doin crime, you may as well find a job.

I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.

I'm not going to write for posterity. I'm going to write to make a buck.

Don't go into great detail describing places and things, unless you're Margaret Atwood and can paint scenes with language. You don't want descriptions that bring the action, the flow of the story, to a standstill.

If work was a good thing, the rich would have it all and not let you do it.

Skip the boring parts.

Never use an adverb to modify the verb 'said' . . . he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange.

I started out of course with Hemingway when I learned how to write. Until I realized Hemingway doesn't have a sense of humor. He never has anything funny in his stories.

I don't have any of the modern stuff. I don't have e-mail. I don't have a computer!

I get letters. I get several a week, I think. A lot of people want a picture, a lot of people just want an autograph.

There are 500 million people on Facebook, but what are they saying to each other? Not much.

I don't get in a position to be frightened. I don't do anything dangerous, and I always pay my bills.

I want the reader to know what's going on. So there's never a mystery in my books.

It's my attempt to remain invisible, not distract the reader from the story with obvious writing.

To me, writing is the most fun. It's not always fun, but finally when you make it come out the way you want, it's then you can say, 'It's fun, boy.'

Really, when I write a book I'm the only one I have to please. That's the beauty of writing a book instead of a screenplay.

I don't believe in writer's block. I don't know what that is. There are just certain little areas that I know I'm going to get through. It's just a matter of finding a way.

Bad guys are not bad guys twenty-four hours a day.

It's like seeing someone for the first time, and you look at each other for a few seconds, and there's this kind of recognition like you both know something. Next moment the person's gone, and it's too late to do anything about it.

There's nothing like work to take your mind off your worries.

Don't worry about what your mother thinks of your language.

These are rules I've picked up along the way to help me remain invisible when I'm writing a book, to help me show rather than tell what's taking place in the story,

I don't judge in my books. I don't have to have the antagonist get shot or the protagonist win. It's just how it comes out. I'm just telling a story.

A pen connects you to the paper. It definitely matters.

I got halfway through 'The Girl with the Dragon Tattoo.' I don't get it at all. What's the big thrill? It's boring.

I left advertising as fast as I could in 1961. And I haven't ever thought about going back.

I won't read a book that starts with a description of the weather. I don't read books over 300 pages, though I'll make an exception for Don Delillo.

Never use the words 'suddenly' or 'all hell broke loose.'